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T-—  , I  Athletic  Handbooks  No.  iiR 


Fencing  Foil 

Class  Work 

Illustrated 

By 

Ricardo  E.  Manrique 

Maitre   d'Armes 

New  York 

OFFICIAL   TEXTBOOK  OF 

THE  NEW  YORK  NORMAL  SCHOOL  OF 

PHYSICAL  EDUCATION 


Published  by 


n  AMERICAN  SPORTS  PUBLISHING  fl 

—.zr\  COMPANY  Fnr- 

I — '  *-*  *--)  45  Rose  Street,  New  York  e — '  ^  * — i 


'\?FrRrGHT,  1920 
BY  THE 

Abusrican  Sports  Publishing  Company 
New  Yobs 


PREFACE 


In  every  well  regulated  system  of  study  and  instruc- 
tion there  must  be  some  basis  which,  by  experience  and 
practice,  has  presented  itself  most  acceptable  for  the 
requirements  and  results. 

In  the  choice  of  basis  for  the  educational  system,  when 
the  subjects  are  long  estabHshed  arts,  such  as  is  "Fenc- 
ing," the  ''School''  most  universally  used  is  accepted,  as 
its  universalism  speaks  its  adaptability  to  most  persons. 
It  is  in  this  way  the  "French  School"  in  fencing  has  been 
uniformly  established  throughout  the  United  States. 

This  book  aims  to  present,  in  the  form  of  class  work, 
all  the  elementary  conditions  of  fencing,  according  to  the 
^'French  School,"  and  to  prepare  the  fencers,  who  will  in 
the  future  be  the  representatives  of  the  art  in  the  col- 
leges, in  the  universities  and  in  the  clubs. 

The  following  work  has  been  written  by  Professor 
Ricardo  E.  Manrique,  graduate  of  the  "French  School" 
and  a  teacher  for  twenty-five  years,  with  a  wide  experi- 
ence in  handling  large  classes. 

Prof.  Manrique  is  the  author  of  "The  Art  of  Fencing 
With  the  Foil,  According  to  the  French  School,"  and  was 
awarded  the  only  medal  given  for  work  on  fencing  at  the 
Pan-American  Exposition^  Buffalo,  1901. 


544439 


INTRODUCTION 


Fencing  in  class  is  one  of  the  most  pleasurable  subjects 
for  the  instructor  to  present  and  assists  widely  in  quick- 
ening perception  in  the  pupil  and  producing  prompt  execu- 
tion of  commands. 

This  work  aims  to  be  a  convenient  and  a  concise  guide 
for  the  teacher,  simplifying  the  evolutions  of  the  foil  in 
action,  and  to  smooth  the  path  for  the  beginners  by  the 
character  of  class  work,  for  it  affords  the  inevitable  help 
and  pleasure  of  companionship  and  observations  that  are 
essentially  more  agreeable  through  the  early  routine  than 
is  the  hard,  dry,  individual  work  vis-a-vis  with  the 
instructor. 


HISTORY  OF  FENCING 

Fencing,  the  art  of  self-defense  with  the  sword,  has 
passed  through  several  phases  since  the  days  of  its  origin. 
At  the  time  of  its  birth  and  early  development,  the  sword 
in  use  was  a  very  heavy  weapon,  and  adversaries  in  com- 
bat trusted  more  to  inspiration  and  agility  than  to  any 
established  principles.  It  was  through  the  experience  of 
many  generations  of  practical  men  that  the  principles  of 
sword-play  were  deduced,  formulated,  simplified  and 
adapted  to  the  human  anatomy. 

The  art  of  fencing  has  changed  according  to  the  change 
of  arms  and  the  manner  of  combat.  The  beginning  of 
the  middle  ages  was  the  epoch  for  heavy  blows  admin- 
istered with  bludgeons,  and  the  victor  was  he  who  hit 
the  hardest.  When  combatants  were  mounted  on  horse 
the  resistance  of  their  armor  controlled  the  result  and 
their  physical  strength  was  only  secondary.  It  was  with 
the  complete  discarding  of  armor  that  the  art  of  fencing, 
properly  speaking,  began. 

In  the  course  of  time,  and  after  the  passing  of  the 
days  of  armor,  there  was  a  lighter  and  a  shorter  sword 
introduced.  This  weapon  was  easy  to  manage  and  well 
suited  to  the  custom  of  going  afoot ;  it  was  adopted  by 
those  gentlemen  of  the  cloak  and  sword  who  were  obliged 
to  protect  their  lives,  devising  malicious  attacks  and 
avoiding  cunning  thrusts.  Their  method  differed  from 
modern  methods  because  at  that  time  the  sword  had  as 


6  SPALDING  S   ATHLETIC    LIBRARY 

auxiliary  the  dagger,  and  offered  complications  quite  out 
of  the  question  in  fencing  of  our  day.  When  the  dagger 
fell  into  disuse,  the  court  sword  was  adopted,  so  called 
because  Dame  Fashion  demanded  that  it  be  an  adjunct  to 
the  apparel  of  every  gentleman.  This  was  the  signal  for 
the  advancement  of  an  art  which  has  been  continually 
evolving  to  develop  into  the  perfection  of  the  present  day. 
At  about  the  time  of  the  adoption  of  the  court  sword 
two  schools  of  fencing  were  formed  in  Europe,  the 
French  and  the  Italian,  still  holding  their  own  to-day.  The 
former  had  the  advantage  of  royal  protection,  hence  mas- 
ters of  arms  declare  with  pride  that  in  France,  in  1567 
A.  D.  was  established  the  first  institution  known  as  an 
Academy  of  Fencing.  This  Academy  of  Arms  disap- 
peared during  the  Revolution,  when  both  its  patrons  and 
its  masters  were  suppressed.  In  1886  it  reorganized, 
with  the  expressed  object  to  create  a  common  center  for 
fencing  masters,  to  establish  constant  intercourse  and 
fellowship  among  them,  and  to  watch  over  the  profession 
and  promote  its  prosperity. 


Spalding's  athletic  library  **  /  ' 

PART  I 

The  Foil.  / 

The  foil  used  by  the  French  School  is  divided  into  two 
parts,  the  blade  and  the  handle.  The  blade  has  three 
equal  subdivisions  (imaginary,  for  convenience,  not  by 
actual  markings),  the  forte,  part  nearest  handle;  the 
middle  and  part  between  middle  and  end  called  foible. 

The  handle  has  four  subdivisions :  the  guard  (made 
either  bell-shape,  or  number  8)  ;  the  grip  (wood,  cov- 
ered with  cord)  ;  the  tongue  (continuation  of  the  blade 
that  passes  through  the  grip),  and  the  pommel  (hea^y 
metal  knob  completing  the  handle). 

There  are  several  numbers  in  blades,  the  most  usual 
being  No.  4  and  No.  5,  34  and  35  inches  in  length  from 
guard  to  point. 

To  find  proper  balance  of  foil,  poise  the  blade  on  a 
finger  and  about  one  inch  from  guard,  the  exact  balance 
is  regulated  by  the  weight  of  the  pommel. 

How  TO  Hold  the  Foil 
Hold  the  foil  with  the  second  phalange  of  the  thumb 
about  one-half  inch  from  the  guard  on  convex  side  of 
handle;  the  second  and  third  phalanges  of  the  index  fin- 
ger on  the  concave  side;  the  other  fingers  close  together 
on  the  remaining  side.     Allow  handle  to  rest  along  the 


First  Position, 


SPALDING  S   ATHLETIC    LIBRARY  9 

life  une.     Hold  foil  lightly,  for  a  hard  grasp  loses  the 
delicacy  of  touch  so  essential  to  a  really  good  fencer. 


^-Position  of  Attention 

With  foil  held  as  described,  place  the  feet,  heels  to- 
gether, at  right  angles  to  one  another,  head  up,  right  arm 
and  foil  extended  downward  and  slightly  to  the  side, 
button  four  inches  from  floor,  left  hand  at  side,  naturally, 
stand  as  much  in  profile  as  possible,  without  rigidity. 


First  Position. 
From  position  of  attention,  keeping  arm  and  foil  in 
straight    line,    raise    them    toward    the    adversary    and 
slightly  to  the  right,  until  the  hand  is  at  the  height  of 
your  own  forehead,  nails  up. 


Preparatory  Movements  to  Come  ""On  Guard^^  From 
First  Position 

From  first  position  just  given — 

First — -Lower  foil  imtil  button  is  four  inches  from 
floor. 

Second — Continue  movement  of  point  till  the  blade 
rests  in  a  horizontal  position  in  front  of  the  body,  finger 
nails  of  right  hand  toward  floor;  at  same  time  place  left 
hand,  fingers  together  on  blade,  palm  up,  finger  tips  near 
guard. 


P:reparatory  Movements  to  Come  on  Guard  From 
First  Position. 


Preparatory  Movements  to  Come  on  Guard  Fr.oii 
First  Position, 


rZ  •  SPALDING  S    AT HLEirC    LIBRARY  :: 

Third^ — Both  hands  maintaining  same  relative  position,, 
carry  foil  over  head,  blade  horizontal,  arms  bent. 

Fourth — Drop  left  hand  to  the  side  and  height  of  the: 
head,  movement  and  position  curved;,  at  the  same  time- 
bring  right  hand  with  foil  in  front  of  adversary,  hand; 
kept  chest  high,  nails  in,  arm  bent,  elbow  in  and  about: 
eight  inches  from  body,  point  of  foil  in  hue  of  adversary's. 
eye. 

Fifth — Feet  keeping:  same  position,  bend  le^s,  knees> 
separate^  weight  maintained  by  both  legs. 

Sixth — Bring  right  foot  forward,  two  foot  lengths, 
between  heels,  keeping  the  right  angle  position;  then  you. 
are  "on  guard."' 

The  Recover 

How  to  do  it:  To  recover  is  to  return  to  "first  posi- 
tion" from  "on  guard." 

Extending  right  arm  and  foil  upward  and  forward,, 
hand  forehead  high^  nails  up ;  at  the  same  time  bring  left 
hand  down  to  side,,  right  foot  back„  legs  straight,  heels, 
together. 

The  Advance 
From  "^on  •guard'''  with  body  in' same  position,  advance 
fight  foot  a  convenient  distance,:  left  foot  following  am 
equal  distance. 

The  Retreat 
Being  "'on  guard"'  and  keeping  body  and  arm  in  same 
position,  take  one  step  back  with  left  foot,  letting  right 
foot  follow  immediately.. 


14  spalding  s  athletic  library 

Gain 

This  motion  consists  in  drawing  the  left  foot  towardl 
the  right  foot,  the  distance  you  wish  to  approach  your| 
adversary  in  attack.    The  movement  is  made  just  before 
lunging,  keeping  legs  bent. 

'  The  Calls 

Stamp  right  foot  on  floor,  once  or  twice  quickly  and! 
audibly,  rest  of  body  remaining  motionless ;  these  stamps! 
may  be  used  to  insure  a  perfect  balance,  or  as  a  means  to ' 
call  an  adversary's  attention  to  your  desire  that  the  bout 
should  stop. 

Extension  of  Arm 

Extend  right  arm  with  easy  and  smooth  movement, 
hand  held  nails  up,  arm  and  foil  making  straight  line  and 
at  level  of  chin. 

To  resume  former  position,  draw  back  arm  with  foil, 
in  the  easy,  smooth  way,  and  bring  elbow  to  within  eight 
inches  of  body. 

The  Lunge. 
The  arm  extended,  as  described,  lift  right  foot  about 
one  inch  from  floor,  and  pushing  back  with  the  left  leg, 
throw  body  forward  until  left  leg  is  extended  to  its  full 
length  with  foot  flat  on  floor,  then  the  right  foot,  with 
instep  perpendicular  to  knee  and  with  right  thigh  nearly 
horizontal,  returns  to  floor  to  receive  weight  of  body. 
Simultaneously  with  the  thrust  of  the  left  leg,  drop  the 
left  hand  backward  and  down  in  a  curved  movement, 
until  it  rests  within  four  inches  of  the  thigh,  palm  turned 


On  Guard. 


l6  SPALDING^S   ATHLETIC    LIBRARY 

forward.     The  body  is  held  as  nearly  as  possible  in  a 
perpendicular  position  throughout  the  lunge. 

To  return  ''on  guard,"  bending  left  leg  at  knee,  draw 
back  right  foot  to  original  position,  with  weight  of  body 
evenly  distributed ;  at  same  time  swing  left  arm  upward,, 
and  flex  right  arm  with  foil  as  described  before. 

Position"  of  Foil  Haistd 
Foil  hand  in  fencing  may  assume  four  different  posi- 
tions, namely : 

First — Thumb  down,  nails  to  right. 
Second — Thumb  to  left,  nails  down. 
Third^ — Thumb  up,  nails  to  left. 
Fourth — Thumb  to  right,  nails  up. 
First,  second  and  fourth  can  be  used  in  attacks  and 
parries ;  third  in  parries  only. 

Public  Salute" 

First — Being  in  first  position,  bring  foil  in  front  of 
face,  blade  perpendicular^  handle  chin  high,  palm  toward 
face,  nails  in. 

Second — Without  moving  arm,  drop  foil  forward  to* 
horizontal  position,  then  swing  to  left  side,  arm  extended,, 
nails  up,  hand  shoulder  high,  look  in  direction  of  foil. 

Third — Withdraw  arm  and  carry  foil  to  front  oi  face 
in  perpendicular  position  described,,  then  drop  forward  as 
in  second  part;  swing  to  right  side,  nails  down,  han:! 
shoulder  high  and  look  in  direction  of  exteaded  arm  and 
foil. 


r8  SPALDING^'S   ATHLETrC    LIBRARY 

Fourth — Return  foil  to  perpendicular  position  in  front 
of  face,  then  after  making  the  last  six  preparatory  move- 
ments, come  to  "on  guard/' 

Final   Salute 

In  first  position,  flex  arm,  elbow  near  body,  hand  in- 
front  of  chin,  nails  in,  blade  perpendicular  m  front  of 
face. 

Second — Swing  point  forward  and  down,  extending: 
arm  ind  at  the  same  time  turning  hand  outward,  nails 
dov.n ;  halt  point  at  about  four  inches  from  the  floor  and 
a  ^^ille  to  the  right. 

-^^  The  Lines 

The  lines  are  the  spaces  existing  on^he  different  sides; 
of  the  blade  when  on  guard. 

^here  are  four  lines,  namely,  the  space  to  right  of 
blade  is  known,  as  follows:  right  line,  sixth  Fine,  third 
line,  and  outside  line ;  space  to  left  of  the  blade  known  as 
follows :  left  hne,  fourth  line  and  inside  line;  the  space 
above  the  guard  to  vhe  collar  line,  known  as  high  line,, 
and  space  below  guard  to  the  belt  line  known  as  Igzu  line^ 

The  right  and  left  lines  are  the  only  lines  for  engage- 
ment.   High  and  low  lines  for  attacking. 

The  Engagement 
The  engagement  is  the  joining  of  your  blade  with  your 
adversary's,  in  one  of  the  4ines  of  engagement,  in  such  a 
manner  as  to  protect  yourself,  by  carrying  adversarv's 
point  away  from  either  side  of  your  body. 


^ 

'^w 


^^M 

^^^s 


The  Line. 


20  Spalding's  athletic  library 

Change  of  Engagement 

The  change  of  engagement  is  a  new  engagement,  made 
on  the  opposite  from  the  one  in  which  the  blades  were 
originally.  In  making  the  change,  lower  your  point 
(movement  made  by  the  fingers  only)  and  pass  it  under 
and  as  near  as  possible  to  the  adversary's  blade,  protect- 
ing yourself,  as  described,  in  the  line  of  engagement. 

If  the  change  of  engagement  is  made  advancing,  the 
step  forward  must  be  preceded  by  the  finger  movement, 
the  advance  being'  executed  during  completion  of  this 
movement. 

Double  Engagement 

The  double  engagement  is  made  by  two  successive 
engagements,  the  second  beginning  in  the  opposite  line 
to  the  one  of  the  first  engagement.  If  executed  advanc- 
ing, the  advance  must  be  completed  during  the  first  change 
of  engagement. 

:  Fingering 

Fingering  consists  of  having  the  guidance  of  the  blades 
entirely  under  the  control  of  the  fingers,  more  especially 
the  thumb  and  index  finger. 

Fingering  gives  the  real  fencer  the  most  e'ssential 
quality  of  delicacy  and  sensitiveness. 

The  Attack 
The  attack  is  the  action  of  a  fencer  when  trying  tc 
touch  an  adversary  by  simple  or  by  complex  thrust.    Sim- 
ple, when  it  consists  of  one  movement,  complex,  When  it 
consists  of  more  than  one. 


Position  of  Engage  in  Fourth. 


Position  of  Engage  in  Sixth 


SPALDING  S   ATHLFTIC    LIBRARY  2}^ 

There  are  only  three  simple  thrusts,  namely :  the  direct 
thrust,  the  disengage  and  the  cut-over. 

The  direct  thrus'  is  the  action  of  the  fencer  when  he 
makes  a  direct  extension  of  the  arm,  with  the  intention  to 
touch  his  adversary  in  the  line  of  engagement. 

The  disengage  is  a  pass  under  the  adversary's  blade, 
keeping  as  near  to  it  as  possible,  -^nd  is  followed  by  exten- 
sion of  the  arm  with  the  intenticr  tc  touch  the  adversary 
in  opposite  line  to  the  line  of  engagement. 

The  cut-over  is  a  pass  over  the  adversary's  blade  and 
as  near  to  it  as  possible,  motion  made  by  thumb  and  index 
finger  only,  and  is  followed  by  extension  of  the  arm  with 
the  intention  to  touch  the  adversary  in  the  opposite  line 
to  the  line  of  engagement. 

The  complex  attacks  are  without  limit  in  iuimber. 

Further  on  there  will  be  some  explanatory  examples 
given. 

The  Feint 
The  feint  is  a  counterfeit  attack,  and  must  be  so  exe- 
cuted as  to  deceive  the  adversary  into  believing  it  a  real 
thrust,  without  being  accompanied  by  a  lunge,  thus  forc- 
ing adversary  to  parry ;  then  your  point  must  be  in  readi- 
ness to  make  another  feint  or  to  execute  a  thrust  in 
another  line;  by  so  doing,  complex  attacks  are  formed. 

The  Parry 
The  parry  is  the  action  of  attempting  to  direct,  beyond 
your  body,  the  point  your  adversary  has  thrust  at  you 
(this  attempt  may  be  or  may  not  be  successful,  in  either 


24  Spalding's  athletic  library 

case  it  is  a  parry).     The  parry  is  made  by  the  forte  of 
your  blade  against  the  foible  of  your  adversary's. 

The  Counter-Parry. 

The  counter-parry  is  a  reverse  parry  which  seeks  your 
adversary's  blade  in  the  line  in  which  it  presents  itself, 
to  be  forced  into  opposite  line.  In  execution  the  point 
describes  a  small  but  complete  circle,  while  hand  remains 
fixed. 

Opposition  Parry 

The  opposition  is  diat  special  parry  which  meets  the 
adversary's  blade,  accompanying  it,  without  a  tap,  beyond 
the  front  of  the  body,  using  a  forceful  pressure  of  the 
hand,  forte  to  foible. 

Contraction  Parry 
The  contraction  parry  is  an  awkward  and  unnecessary 
parry,  as  it  carries  the  adversary's  point  through  all  the 
lines,  exposing  the  body,  for  example: 

Engage  in  fourth — 

No.  I — Attack  by  one-two. 

No.  2 — Instead  of  parrying  sixth  and  fourth  or  sixth 
and  counter-sixth,  parry  sixth  and  counter-fourth  (this 
counter-fourth  is  a  contraction  parry). 

The  Different  Parries 
There  are  eight   parries,   each  one  of  which   has  its 
counter.     These  parries  are  first,  second,  third,  fourth, 
fifth,  sixth,  seventh  or  semi-circle  and  eighth. 


SPALDING  S    ATHLlilTIC    LIHRARY  2$ 

The  second  and  e'ghth  are  made  to  the  right  and  in  the 
low  Hne ; 

The  third  and  sixth  are  made  to  the  right  and  in  the 
high  Hne ; 

The  fourth  and  first  are  made  to  the  left  and  in  the 
high  line ; 

The  fifth  and  seventh  to  the  left  and  in  the  low  line. 


Execution  of  First 
On  a  thrust  at  your  left  high  line,  turn  your  hand,  nails 
out,  elbow  raised  and  bent,  forearm  horizontal,  handle 
at  height  of  left  eye,  point  directed-  to  adversary's  low 
line. 

The  Counter  of  First 
Being  in  position  just  described,  on  your  adversary  s 
attack  in  opposite  line,  raise  point  of  your  blade  above 
adversary's,  carrying  it  with  yours  to  original  position. 

ExEcuTior^^F  Second 
On  a  thrust  at  your  Iovva  line,  lower  your  handle,  in 
motion  from  left  to  right,  turning  your  hand,  nails  down, 
bringing  forearm,  handle  and  blade  in  a  position  nearly 
horizontal. 

The  Counter  of  Second 
Being  in  position  just  described,  on  your  adversary's 
attack   in  opposite  low  line,   raise  point  of  your  blade 
above  your  adversary's  and  carry  adversary's  blade  to 
original  position.  ^ 


26  Spalding's  athletic  library 

Execution,  of  Third 
On  a  thrust  at  your  right  high  Hne,  carry  your  hand 
to  the  right,  nails  down,  turning  by  articulation  of  the 
wiist,  ending  with  point  at  height  of  and  in  line  with 
your  right  eye. 

The  Counter  of  Third 

Being  in  position  just  described,  on  your  adversary's 
attack  in  opposite  line;  drop  your  point  under  your 
adversary's  and  carry  your  adversary's  blade  to  original 
position. 

ExEcuxioisr  OF  Fourth 

On  a  thrust  at  your  left  high  line,  carry  your  hand  to 
the  left,  u.sing  a  quarter  turn  if  the  wrist,  thumb  slightly 
inclined  to  the  right,  point  at  height  of  and  in  line  with 
your  left  eye. 

The  Counter  of  Fourth 

Being  in  position  jus.;  described,  on  your  adversary's 
attack  in  opposite  line,  drop  point  of  blade  under  your 
adversary's,  carry  adversary's  blade  to  original  position. 

Execution  of  Fifth 
On  a  thrust  at  your  left  line,  turn  your  hand  slightly, 
nails  down,  lowering  your  wrist  diagonally  over  your 
adversary's  blade,  carrying  the  latter  to  the  low  line.  At 
the  end  of  the  stroke  the  forearm,  wrist  and  blade  should 
be  in  horizontal  line  across  the  body. 

The  Counter  of  Fifth 
Being  in  position  just  described,  on  your  adversary's 
attack  ill  che  opposite  line,  drop  the  point  of  your  blade, 


Spalding's  athletic  library  2y 

passing  it  under  that  of  the  adversary's  and  carry  it  to  the 
o»-!ginal  position. 

Execution  of  Sixth 

On  a  thrust  at  your  right  high  line,  carry  the  hand  to 
the  side,  nails  slightly  upward,  motion  made  with  the 
wrist,  and  finish  with  the  point  of  your  blade  at  the 
height  of  and  in  line  with  the  right  eye. 

The  Counter  of  Sixth 
Being  in  position  just  described,  on  your  adversary's 
attack  in  opposite  line,  drop  the  point  of  your  blade,  pass- 
ing it  under  your  adversary's,  and  carry  adversary's  blade 
to  original  position. 

Execution  of  Seventh  or  Semi-Circle 
On  a  thrust  at  your  low  line,  drop  your  point  under 
the  adversary's  wrist,  turning  hand,  nails  up,  by  wrist 
movement,  and  carry  adversary's  blade  to  the  left  of  your 
body;  at  the  end  of  this  parry  the  hand  should  be  chin 
high,  and  the  arm  must  be  somewhat  extended  to  facili- 
tate the  movement. 

The  Counter  of  Seventh 
Being  in  position  just  described,  on  your  adversary's 
attack  in  opposite  low  line,  raise  the  point  of  your  blade, 
passing  it  over  your  adversary's,  and  carry  adversary's 
blade  to  original  position. 

Execution;  gf  Eighth 
On  a  thrust  at  your  low  line  drop  the  point  of  your 


Cb  SPALDING  S   ATHLETIC    LIBRARY 

blade  under  adversary's  wrist^  turning  nails  slightly  up^ 
without  changing  height  of  wrist,  and  carry  adversary's 
blade  to  the  right  of  your  body. 

The  Counter  of  Eighth 
Being  in  position  just  described,  on  your  adversary'^ 
attack  in  the  opposite  low  line,  raise  the  point  of  your 
blade,  passing  it  over  your  adversary's,  carry  adversary's* 
blade  to  original  position. 

Complex  Attacks 

Having  explained  the  parries,  it  is  now  the  moment  in 
which  to  grasp  the  complex  attacks. 

As  has  been  said  before,,  the  complex  attacks-  are  with- 
out limit,  for  many  parries  may  be  involved  by  able  hand- 
ling of  adversary's  attack. 

The  One-Two 
The  one-two,  a  complex  attack  of  two  motions,  con- 
sists  of  two  disengages  made  in  opposite  directions,  one 
following  immediately  after  the  other ;  the  first  is  fike  a 

,_sinm[e  disengage,  the  second  (made  by  motion  of  first 

finger  and  thumb)  is  the  one  to  deceive  adversary's  parry. 

Exercise: 

Engage  in  Fourth 

Pupil — Disengage  (i). 
Instructor — Execute  parry  sixth. 
Pupil — Deceive  by  disengage  (2). 


y 


spat.ding''s  athl,t:tic  •libkai^y  29 

In  this  example  the  one-two  is  executed,  but  in  the 
event  that  the  instructor  executed  the  other  parry  that 
the  pupil  should  deceive,  the  result  could  be  a  series  -of 
movements  being  made  before  the  end  of  the  attack,  thus 
proving  the  possibility  of  compkx  attacks  of  long  dur- 
ation. 

The  Double 

The  double  is  a  complex  attack  of  two  motions.  It  con- 
:sists  of  two  disengages  in  the  same  direction,  one  follow- 
ing immediately  after  the  other.  Extending  the  arm 
during  the  first  disengage  (as  in  one-two)  ;  the  second 
'disengage  is  executed  hy  the  aid  of  the  first  finger  and 
thumb,  and  completes  the  double;  the  latter  or  second 
disengage  deceives  the  adversary's  counter-parry, 

ExEIiCISE 

Engage  in  Fourth 
Pupil — Disengage  (first  part  of  double). 
Instructor — Parry  counter-fourth. 
Pupil — Deceive  by  disengage  (end  of  double). 

The  One-Two-Three 
The  one-two-three  consists  of  three  disengages,  one 
following  immediately  after  the  other,  but  made  in  op- 
posite direction.     It  is   as  the  one-two  with  one  more 
disengage. 

Exercise 

Engage  in  Fourib 
Pupil — Disengage  (i). 
Instructor — Parry  sixth. 


30  SPALDING  S    ATHLETIC    LIBRARY 

Pupil — Deceive  by  disengage  (2). 

Instructor — Parry  fourth. 

Pupil — Deceive  by  disengage  (3). 

In  every  case  these  exercises  could  be  done  from  the 
sixth  engagement  with  opposite  parries. 

Disengage,  cut-over ;  cut-over,  disengage ;  cut-over, 
cut-over;  double,  one-two;  one-two,  double;  double, 
one-two-three;  one-two-three,  double;  dbuble,  double, 
etc.,  etc.  With  these  and  malny  other  combinations  the 
instructor  can  enlarge  on  the  number  of  complex  attacks. 

The  Riposte 

This  is  the  attack  following  a  successful  parry,  with 
or  without  the  lunge.  According  to  the  position  and 
movements  of  your  adversary,  the  riposte  may  be  made 
immediately  after  parry  or  in  a  brief  interval  of  time. 

The  ripostes  are  simple  and  complex ;  the  simple 
ripostes  are  those  executed  with  one  movement  and  the 
complex  ripostes  are  those  consisting  of  two  or  more 
movements. 

The  simple  ripostes  are  divided  into  simple  direct  and 
simple  indirect. 

The  simple  direct  is  the  most  rapid  of  all  ripostes,  and 
is  called  the  riposte  of  tac-au-tac;  it  is  executed  in  the 
same  line  in  which  you  have  parried  your,  adversary's 
attack,  and  when  made  on  your  adversary's  lunge,  should 
be  made  simultaneously  with  the  stamp  of  your  ad- 
versary's right  foot  on  the  floor. 

The  simple  indirect  ripostes  are  ripostes  made  by  cut- 
over  or  disengage. 


SPALDING  S    ATHLETIC    LIBRARY  3I 

For  a  proper  execution  of  complex  ripostes  it  is  con- 
venient not  to  abandon  your  adversary's  blade  as  quickly 
as  for  simple  ripostes,  but  observe  whether  he  returns 
quickly  or  slowly  to  ''on  guard," 

To  execute  either  of  the  two  simple  indirect  ripostes 
it  is  advisable  to  hold  adversary's  blade  as  in  complex 
riposte. 

The  Counter-Riposte 

The  counter-riposte  is  the  attack  following  a  parry 
of  a  riposte :  it  has  the  divisions  and  same  suggestions  as 
for  riposte.  . 

The   Second  Counter-Riposte 

The  second  counter-riposte  is  the  attack  following  a 
parry  of  the  first  counter-riposte;  and  the  third  and 
fourth  counter-ripostes,  etc.,  are  made  in  the  same  order, 
thus  forming  long  or  short  "phrases  of  arms." 

Phrase  of  Arms 

A  phrase  of  arms  is  a  series  of  attacks,  parries, 
ripostes,  etc.,  etc.,  one  after  the  other,  without  interrup- 
tion, and  ending  only  when  one  of  the  fencers  is  touched 
or  when  they  are  out  of  distance  by  retreating.  The 
shortest  possible  phrase  of  arms  is  a  direct  thrust,  a  dis- 
engage or  a  cut-over. 

The  Replacing   (Remise) 
The  replacing  is  the  second  attack  executed  always  by 
a  direct  thrust  in  the  same  line  in  which  the  first  attack 
was  made.    You  should  never  replace  without  first  study- 
ing  the    adversary's    style   to    find    whether   he    usually 


32r  SPALDING  S   ATHLETIC    LIBRARY 

ripostes  by  complex  movement,  which  condition  presents 
the  opportunity  for  replacing.  Replace  after  adversary's 
first  feint,  the  result  will  be  that  you  stop  his  final  move- 
ment by  an  opposition,  and  touch  him  before  he  could 
execute  it.  A  good  fencer  will  never  replace  with  an 
adversary  who  has  the  habit  to  riposte  by  tac-au-tac,  be- 
cause the  result  will  be,  as  a  rule,,  a  double  touch. 

The  Redoubling  (Redoublement) 
The  redoubling  is  the  action  of  making  a  second  attack 
without  coming  on  guard  after  the  first.  It  can  be  exe- 
cuted in  any  line,  but  never  by  a  direct  thrust,  for  in 
such  case  it  would  be  replacing.  The  only  opportunity 
tor  redoubling  presents  itself  when  in  the  adversary's 
parry  of  your  first  attack  he  does  not  riposte ;  this  second 
attack  (the  redoubling)  must  be  made,  while  still  in  the 
lunge,  either  by  disengage  or  cut-over.  Accompany  the 
motion  of  the  hand  by  a  slight  pretence  of  recovery,  in 
order  to  deceive  the  adversary  with  the  idea  that  you  are 
about  to  come  ''on  guard/' 

The  Reprise 
The  reprise  is  a  new  attack  made  after  the  contestants 
have  engaged  in  a  phrase  of  arms,  without  either  receiv- 
ing a  touch.  At  the  moment  of  recovery  of  both,  either 
contestant  quickly  makes  a  new  attack  by  simple  or  com- 
plex movement.  This  is  an  efTective  attack  because  the 
adversary  may  be  disconcerted  by  the  preceding  phrase  of 
arms,  and  will  find  it  difficult  to  ofifer  successful  parry. 


spalding  s  athletic  library  33 

Attacks  on  the  Blade 
Attacks  on  the  blade  are  those  executed  to  derange 
the  position  of  the  adversary's  blade,  driving  it  from  its 
line  of  defence. 

The  Beat 

The  beat  is  a  tap,  more  or  less  light,  made  with  your 
blade  against  your  adversary's;  it  must  be  done  with  a 
quick  motion  of  the  index  finger  and  the  thumb. 

There  are  three  beats.  Beat  preceding  direct  thrust  is 
forcible  and  at  the  place  where  the  blades  cross:  it  is 
made  to  open  room  for  the  direct  thrust.  Beat  preced- 
ing disengage  is  light  and  is  made  with  the  foible  of  your 
blade  near  the  forte  of  the  adversary's;  it  is  executed 
thus  in  order  to  call  attention  on  the  one  side  of  the  blade 
and  open  room  on  the  other  side.  Beat  preceding  a  cut- 
over  is  executed  lightly,  as  is  the  beat  preceding  dis- 
engage, but  is  made  with  a  backward  motion,  sliding 
your  blade  along  your  adversary's  until  you  clear  the 

point. 

The  Double  Beat 

The  double  beat  is  the  immediate  succession  of  two 
beats.  The  first  beat  is  made  in  the  line  of  engagement, 
the  other  in  the  opposite  line,  and  is  made  after  dip- 
ping your  blade  under  your  adversary's.  The  double  beat 
can  also  be  made  by  preceding  each  beat  with  a  change 
of  engagement. 

When  the  double  beat  is  to  be  followed  by  a  direct 
thrust,  the  first  beat  must  be  slower  and  lighter  than  the 
second ;  both  to  be  made  with  about  the  center  of  your 
adversary's   blade  with  the   center  of  your  own   blade. 


34  SPALDING  S    ATHLETIC    LIBRARY 

When  the  double  beat  is  followed  by  a  disengage,  the 
first  beat  must  be  slower  and  lighter  than  the  second 
and  on  the  center  of  the  blades,  but  the  second  must  be 
made  near  the  adversary's  forte  and  with  your  foible. 
When  the  double  beat  is  to  be  followed  by  a  cut-over, 
both  beats  are  light  taps ;  the  second  beat  is  the  same  as 
the  simple  beat  preceding  cut-over,  explained  before. 

The  Press 
The  press  is  a  pressure,  more  or  less  light,  with  your 
blade  against  your  adversary's,  in  order  to  open  your 
adversary's  guard  and  facilitate  an  attack.  When  pre- 
ceding a  direct  thrust,  the  press  must  be  executed  by  a 
slow  turning  movement  of  the  wrist,  without  losing  con- 
tact with  the  adversary's  blade.  When  preceding  a  dis- 
engage, the  press  must  be  executed  by  a  rapid  turning 
movement  of  the  wrist,  and  upon  your  adversary's  re- 
sponse, disengage;  in  this  latter  case  start  with  your 
point  lower  than  in  the  preceding  case. 

The  Glide 
The  glide  is  the  feint  of  a  direct  thrust  made  by  slid- 
ing your  blade  easily  along  your  adversary's,  with  as  lit- 
tle warning  as  possible.  When  the  glide  is  intended  to 
realize  a  direct  thrust,  glide  with  the  forte  of  your  blade 
on  your  adversary's  foible,  elevating  your  handle  and 
lowering  your  point  to  touch.  If  your  glide  is  intended 
to  realize  a  disengage,  it  must  be  executed  by  sliding  the 
foible  of  your  blade  along  the  length  of  your  adversary's, 


SPALDING  S    ATHLETIC    LIBRARY  35 

in  this  case  plainly  drawing  your  adversary's  attention  sg 
as  to  induce  him  to  cover  that  line. 

The  Traverse 
The  traverse  is  a  prolonged  and  sharp  press,  sliding 
your  blade  along  your  adversary's  down  toward  the  hilt, 
in  order  to  make  an  opening  through  which  to  thrust  your 
point. 

The  Low  Thrust 

The  low  thrust  is  the  attack  made  by  passing^  your 
blade  from  a  high  line  to  a  low  line.  To  realize  this,  exe- 
cute first  in  a  high  line,  a  feint  of  attack  or  an  attack  on 
the  blade,  then  lower  the  point  of  your  blade  hy  a  turn 
of  the  wrist,  and  in  a  low  line  lunge  to  touch;  at  the 
same  time  raise  your  handle  as  much  as  possible  for  self 
protection. 

The.  Bind- 

The  bind  is  the  action  by  which,  with  the  possession  of 
your  adversary's  blade,  you  carry  It  from  a  high  line  to* 
an  opposite  low  hne.  On  your  adversary's  slow  feint  or 
when  his  arm  is  extended,  seize  the  foible  of  his  blade 
with  your  own  forte,  thus  taking^  possession  of  his  blade,, 
and,  carrying  your  point  to  a  low  line,  carry  adversary's 
point  outside  the  hne  of  your  body,  then  lunge  to  touch. 

If  the  bind  starts  from  fourth  engagement,  turn  hand,, 
palm  down ;  if  from  the  sixth  engagement,  keep  your 
hand  palm  up. 

The  fcinf  of  bind  is  as  the  real  bind  without  the  lunge; 
on  your  adversary's  endeavor  to  parry,,  deceive  that  parry- 
by  a  disengage. 


36  Spalding's  athletic  library 

The  Cross 
The  cross  is  a  brusque  movement  which  is  realized  by 
involving  your  adversary's   foible  with  your  forte,  and 
carrying  it  from  a  high  line  to  a  low  line  or  vice  versa, 
usually  after  parrying. 

From  fourth  to  second. 
From  sixth  to  seventh. 
From  second  to  fourth. 
From  seventh  to  sixth. 

The  Liement 
The  liement  is  a  movement  which  forms  a  complete 
circle,  carrying  your  adversary's  blade  (his  arm  being 
extended),  forte  to  foible,  through  all  the  lines,  until 
arriving  again  at  point  of  departure,  immediately  follow 
by  a  glide  and  direct  thrust.  Though  I  explain  this 
movement  I  must  say  it  is,  generally  speaking,  not  used 
by  good  fencers  as  it  carries  the  adversary's  point  across 
your  body,  which  is  disconcerting. 

The  Time  Thrust 
The  time  thrust  is  an  attack  calculated  to  surprise  your 
adversary ;  it  is  therefore  an  attack  executed  in  the  time 
intervening  between  the  two  final  feints  of  your  ad- 
versary, or  when  his  blade  is  momentarily  out  of  line,  or 
on  a  prolonged  feint,  or  during  an  attack  disconcerted  by 
your  adversary  lunging  before  having  extended  his  arm, 
or  on  a  feint  beyond  the  body.  It  is  a  movement,  at  once 
a  thrust  and  a  parry,  and  I  advise  it  be  executed  in  the 


SPALDING  S    ATHLETIC    LIBRARY  37 

outside  line,  because  in  the  inside  line  there  is  a  greater 
chance  of  a  double  touch. 

The  time  thrust  should  not  be  encouraged  in  a  pupil 
until  he  is  thoroughly  familiar  with  all  the  attacks,  par- 
ries and  ripostes.  Only  advanced  fencers  should 
attempt  to  execute  a  time  thrust. 

The  Stop  Thrust 
The  stop  thrust  is  a  rapid  attack,  executed  in  the  face 
of  an  advancing  attack  which  is  composed  of  wide  feints. 
In  short,  it  is  a  time  thrust  realized  on  your  adversary's 
advance. 


38  Spalding's  athletic  lip.rary 

PART  II 


In  the  preceding  pages  I  have  tried  to  frame,  in  a  con- 
cise form,  the  foundation  of  the  art  of  fencing,  the  art 
in  which  there  are  so  many  possibiHties,  so  many  beauties, 
and  so  many  benefits. 

After  a  thorough  understanding  of  what  has  gone 
before  in  the  pages  of  this  Httle  book,  we  pass  to  the 
practical  appHcation  in  class  work. 

In  class  work  the  individuals  assembled  receive  and 
execute  in  concert  all  the  movements  on  which  fencing  is 
built. 

The  only  parts  of  the  fencer's  costume  absolutely  neces- 
sary for  this  work  are  the  foil,  the  mask,  the  glove  and 
the  shoes. 

A.  G.  Spalding  &  Bros,  have  regulation  fencing  jackets 
for  both  men  and  women.  For  men,  there  are  fencing 
trousers  to  be  bought  if  desired.  For  women,  it  is  advis- 
able they  wear  either  a  short  skirt  or  bloomers.  And,  as 
an  additional  advice  to  women,  from  a  medical  stand- 
point, it  is  best  to  protect  the  chest  by  wrapping  strips  of 
cloth  across  it  and  under  the  arms  to  form  a  bandage  to 
guard  against  any  possible  bruise  from  being  struck 
there  with  the  foil  button ;  about  three  yards  of  cheese 
cloth  or  similar  material  crossed  and  recrossed  until  a 
firm  solid  bandage  is  made  as  suggested. 

As  to  the  uniformly  necessary  adjuncts,  the  foil  already 
described ;  the  mask,  a  specially  prepared  net  work  made 


SPALDING  S    ATHLETIC    LIBRARY  39 

to  cover  the  face  and  ears  of  the  fencer;  the  glove,  a 
regulation  gauntlet,  and  the  shoes,  without  heels  and 
Avith  a  rough  sole,  made  especially  for  the  purpose.  The 
Spalding  catalogue  contains  a  full  list,  with  prices  of 
fencing  equipment. 

Class  Work 

(All  commands  have  two  orders,  one  preparatory  and 
one  for  execution.) 

Assuming  now  there  is  a  class  of  beginners  before  us, 
the  instructor  will  assemble  this  class,  forming  them  in 

LEFT  RIGHT 

12  12  1  2  1 2 


INSTRUCTOR 


one  line,  according  to  height  and  facing  the  instructor,  the 
tallest  at  the  extreme  left ;  command  used  will  be  '"class, 
fall  in."  (See  diagram  above.)  (The  pupil  at  the  end 
of  line  at  instructor's  left  will  be  known  hereafter  as  the 
head  of  the  line.) 

The  class  thus  formed  in  line,  the  Position  of  Atten- 
lion  is:  Heels  on  the  same  line  and  as  near  each  other 
as  the  conformation  of  the  body  permits ;  feet  turned  cut 
equally  and  forming  with  each  other  an  angle  of  about 


40  SPALDING  S   ATHLETIC    LIBRARY 

sixty  degrees ;  knees  straight  without  stiffness ;  body  erect 
on  the  hips ;  shoulder  square  and  f  aUing  equally ;  arms 
and  hands  hanging  naturally;  elbows  near  body;  head 
erect  and  square  to  the  front,  chin  slightly  drawn  in, 
without  constraint;  eyes  straight  to  the  front. 

At  the  command  (i)  Right,  (2)  Dress,  (3)  Front;  the 
pupils,  except  the  head  of  the  line,  turn  the  head  to  the 
right,  so  as  to  bring  the  left  eye  in  a  line  about  two  inches 
to  the  right  of  the  center  of  the  body,  eyes  fixed  on  the 
line  of  eyes  of  pupils  in  that  direction ;  at  the  same  time 
place  the  left  hand  on  the  hips,  thumb  to  the  back,  the  four 
fingers  together  toward  the  front,  elbow  lightly  against 
the  right  arm  of  the  next  pupil.  The  instructor  must 
verify  the  alignment.  Then  at  the  command  front,  all 
heads  and  eyes  to  the  front  and  drop  left  hand  to  the 
side. 

(In  fencing,  the  position  of  the  feet  must  always  be  at 
right  angles.) 

The  class  now  in  straight  line  and  facing  front  after 
preceding  commands. 

At  the  command  (i)  Half-left,  (2)  Face,  rest  on  left 
heel  and  turn  one-quarter  to  the  left,  this  turn  brings  the 
left  foot  of  every  pupil  in  a  straight  line  and  pointing  to 
the  left,  bring  right  heel  to  left  heel,  feet  forming  right 
angles.  Simultaneously  with  the  turn,  raise  right  hand 
away  from  body,  slightly  forward  and  to  the  right,  palm 
down ;  the  class  is  now  in  attention  position  in  fencing. 

(i)   First  position. 
(2)  One. 


SPALDING  S   ATHLETIC    LIBRARY  4I 

Under  (2)  raise  arm  and  come  to  first  position  in 
fencing. 

Under  commands  (i),  (2),  (3),  (4),  (5),  (6),  the 
instructor  leads  the  class  through  the  execution  of  the 
preliminary  movements  in  fencing  to  ''on  guard/' 

(i)   Extend  the  arm. 
(2)  One. 

Under  command  (2)  extend  the  right  arm,  hand  palm 
up. 

(i)   Class. 

(2)  Lunge. 
Under  command  (2)  execute  the  lunge. 

(i)   On  guard. 
(2)   One. 
Under  command  (2)  come  on  guard. 

(i)  Two  calls. 
(2)   One. 
Under  command  (2)  give  two  calls. 

( 1 )  First  position. 

(2)  One. 

Under  command  (2)  come  back  to  first  position. 

(i)   Final  salute. 
(2)   One,  Two. 
Under  command  (2)  make  final  salute. 


42  SPALDING  S   ATHLETIC    LIBRARY 

(i)   Front, 
(2)   Face. 
Under  command   (2)  rest  on  left  heel  and  turn  one- 
quarter  to  the  right ;  right  hand  to  the  side ;  the  line  is  in 
position  of  attention  class  work. 


Foil  and  Mask. 

After  the  class  has  received  and  executed  the  work 
without  the  foil,  the  order  is  given  to  take  foil  and  mask. 

The  foil  is  held  between  the  first  finger  and  thumb, 
pommel  down;  thumb  on  the  convex  side  of  handle  and 
index  finger  on  the  concave  side,  blade  perpendicular  and 
at  the  side.  Now  to  come  to  fencing  attention  position. 
Simultaneously  with  the  half  left  face,  by  motion  of  first 
finger  and  thumb,  drop  foil  forward  and  down,  turning 
wrist  brusquely,  until  the  point  is  about  four  inches  from 
the  floor.  From  this  position,  to  come  to  attention  posi- 
tion class  work,  simultaneously  with  the  command  front 
face,  swing  blade  up  by  a  brusque  motion  of  the  wrist  to 
perpendicular  position  at  the  side. 

The  mask  is  held  by  the  left  hand,  the  second  and 
third  finger  grasping  the  back  part,  in  order  that  in  posi- 
tion of  right  dress  the  face  of  the  mask  is  toward  the 
front ;  this  manner  of  holding  also  facilitates  in  placing 
the  mask  on  and  in  removing  it,  as  explained  in  the  fol- 
lowing paragraphs. 

(i)   Mask  on;  (2)  One;  (3)  Two. 

Being  in  attention  position  class  work,  on  command 


SPALDING  S   ATHLETIC    LIBIIATIY  43 

((2)  bring  lower  part  of  the  mask  under  the  chin  and  in 
-front  of  the  face;  on  command  (3)  draw  back  part  of 
mask  over  the  back  of  the  head,  release  hold  and  drop 
the  hand  to  the  side. 

(f )  Maslc  off:  (2)  One;  (3)  Two. 

Being  in  position  of  attention  class  work,  on  command 
■■(2)  grasp  back  part  of  the  mask  with  second  and  third 
finger;  on  command  (3)  remove  mask  and  bring  hand 
with  mask  to  position  at  the  side. 


Count  Off 

In  order  to  Tiave  two  sides,  one  for  attacks  and  one 
for  parries^  it  is  necessary  now  at  this  point  to  number 
the  pupils;  this  is  done  und^r  the  command  ''Count  Off." 
Pupils  being  in  a  straight  line  in  attention  position  class 
work,  mask  off,  all  except  the  head  of  the  line,  turnlieads 
to  the  right,  as  in  right  dress,  the  rest  of  body  remainmg 
motionless,  and,  beginning  with  th^  head  man,  count  one^ 
tzvo ;  each  pupil  turns  his  head  and  ey^s  to  the  front  as  he 
•counts. 

It  is  imperative  at  this  juncfture,  in  order  to  give  space 
for  freedom  of  movement,  that  the  class  be  formed  into 
two  lines;  this  is  done  easily  by  executing  the  commands, 
as  follows: 

(i)  No.  2''s  two  steps  forward^  (2)  March.  Under 
;the  command  (2)  all  No.  2's  will  step  two  steps  forward 
^See  Diagram  on  follawing  page)^ 


44 


i5PALDIIVG:'s   ATHLETIC    LIBRARY 

1  2  12  1 


,i  f- 


-t 


•  NSTRUCTOH^ 


(In  executing  step  forward  or  step  back  always  step 
with  the  left  foot  first.) 

The  class  in  two  lines  as  Just  described. 

A— (i)  Half-left;  (2)  Face. 

B — (i)   First  position;,  (2)  One, 

C — (i)  Preliminary  movements  to  come  on  guard. 

(When  on  guard  in  class  work,  always  keep  the  guide 
to  the  left  of  the  line;  that  is,  the  line  must  be  regulated 
from  the  pupils  at  the  extreme  left.) 

D — (i)  Extend  the  arm ;  (2)  Lunge;  (3)  On  guard. 

(In  his  Section  D,  after  the  execution  of  ''extend  the 
arm,"^  place  the  hand  in  all  the  different  positions  used 
in  fencing  before  the  lunge,) 

E — Advance, 

F— Retreat. 

G — Two  calls.. 

H^ — (i)  First  position ;  (2)  One, 


.     The  Luj^ce. 


46  Spalding's  athletic  library- 

I — (i)  Final  salute;  (2)  One,, Two. 
J — (i)   Front;  (2)  Face. 

To  have  class  again  in  one  line.  Command  (.1)  No.  2'si 
two  steps  back;  (2)  March. 

(i)   Right,  (2)  Dress,  (3)  Front, 
(i)  Class,  (2)  At  ease. 

At  the  last  command  allow  tht  class  to  relax,  and  dur- 
ing this  period  criticize  and  correct  any  individual  faults- 
you  have  noticed  and  called  attention  to  during  the  exer- 
cises ;  demonstrate  the  correction. 

With  the  class  in  one  line  and  after  half-left,  face,, 
command,  "right  arm  in  position  of  on  guard."  (The- 
work  at  this  point  is  for  the  right  hand  and  arm  only,. 
the  rest  of  the  body  remains  without  moticm.) 

Having  one  pupil  step  four  steps  forward  engage  his 
blade ;  the  class  will  follow  the  movements  of  this  pupil,. 
each  engaging  an  imaginary  blade;  in  this  way  the  in- 
structor can  well  demonstrate  the  right  positions,  explain- 
ing now^  how  to  parry  fourth  and  how  to  parry  sixth, 
(and  make  individual  criticisms). 

In  order  to  have  the  members  of  the  class  in  regular 
distances  and  one  facing  another,  Command: 

(i)  No.  2's  four  steps  forward;  (2)  March, 
f  i)  No.  2's  one  step  to  the  right;  (2)  March, 
(i)  No.  2's  about;  (2)  Face, 

At  the  command  "about"  carry  the  toe  of  the  right 
foot  about  eight  inches  to  the  rear  and  three  inches  tO' 
the  left  of  the  left  heel,  without  changing  the  position  of 


SPALDING  S   ATHLETIC  riBllAlRY  47 

the  left  foot;  at  the  command  "face/*  face  to  the  rear, 
^turning  to  the  right  on  the  left  heel  and  right  toe ;  replace 
•the  right  heel  by  the  side  of  the  left.    (U.  S.  A.) 
With  the  class  in  this  position,  commands 

(i)  Half-left;  (2)  Face. 

Always  liaving  in  mind  the  correct  position  of  tlie  iee% 
in  accordance  with  previously  explained  rules,  it  is  to  be 
noted  now,  in  addition  that  with  the  papils  vis-a-vis,  the 


HI 


right  foot  of  each  one  must  point  in  direct  line  to  the 
middle  of  the  left  foot  of  the  other  one,  with  the  pur- 
pose to  be  exactly  opposite.     (See  Diagram  above.) 

Then  following  the  necessary  command  bring  the  class 
to  on  guard,  and  from  fourth  engagement,  then  from 
sixth  engagement,  command  as  follows;  (Attend  that 
always  in  engagement  position,  the  point  of  your  blade 
must  be  at  the  height  of,  and  in  line  with,  the  adversary's 
eye.) 


48  SFALDTNG^S    ATTILETrC    LrBK-ARY" 

Class  Engage  in  Fourth 
Direct  Thrust, 
No.  I — Direct  thrust ;  lunge. 
No.  2 — Parry  fourth  (when  Na  i  executes  the  lunge).. 

Both  on  Guard 
Command  No.  r.     (i)  Direct  thrust;  (2)  lunge;  (3) 
on  guard 

Disengage 
No.  I — Disengage. 
No.  2 — Remain  motionless. 
No.  I — Lunge. 
No.  2 — Parry  sixth. 

Both  on  Guard 
Command  No.  i   (i)   Disengage;  (2)   lunge;  (3)   on 
guarcL 

Cut-over 

No.  I — Change  engagement. 

No.  2 — Attend  the  new  engagement. 

No.  I — Cut-over. 

No.  2 — Remaiu  motionless.  " 

No.  I — ^Lunge. 

No.  2 — Parry  sixth. 

Both  on  Guard 
Command  No.    i.      (i)    Cut-over;    (2)    Lunge;    (3) 
On  guard. 

No.  I — Change  of  eng-igement. 
No.  2 — Attend  the  nev/  engagement. 


SPALDING  S   ATHLETIC   LIBRAIRY  ^9 

The  No.  2  will  execute  all  the  -Na  i  has  just  done., 
and  No.  I  will  do  as  No.  2  di<i 

Command — Two  calls. 

(i)  First  position;  (2)  One. 

(i)   Final  salute;  (2)  One,  two, 

(i)  Fronts  (2)  Face. 

(i)   No.  2's,  one  step  to  the  right;  (2)  Marc\ 

(i)   No.  2's,  four  steps  forward;  (2)  March. 

(i)   No.  2's,  About ^  (2)  Face. 

(l)  Class  right:  (2)  Dressy  (3)  Front. 

(i)   Class;  (2)  Dismiss. 

(In  class  worl^  when  the  instructor  commands  No.  t 
.  advance.  No.  2  must  retreat  or  vice  versa ;  this  is  to  keep 
the  partners  in  the  same  relative  position.) 

(In  dass  w^ork,  when  the  instructor  observes  the 
partners  are  too  close,  and  gives  command  for  one  of  the 
two  to  retreat,  the  other  one  mu^t  stand  fast,  for  the 
"Command  is  to  correct  distance.) 

To  instruct  in  attacks  on  the  blade,  and  after  the  pupils 
are  in  pairs,  facing  each  other,  the  instructor  will  take 
apart  one  pupil  and  wuth  him  demonstrate  the  following 
•commands : 

Class  on  Guard 

Engage  in  Fourth 
No.  l~Beat^  press,  or  any  other  attack  on  the  blade, 
and  direct  thrust. 

No.  2 — Attend  the  attack  on  the  blade. 

No.  I — Lunge. 

Ko.  2— Parry  fourth. 


50  Spalding's  athletic  library 

Both  on  Guard 
Command — No.  (i)   Beat  ' 

Press 
Etc. 
Direct  tHrust;.  (a)  Lung^e;  (3)  On  guard. 

The  attacks  on  the  blade  could  be  used  to  precede  any 
simple  or  complex  attack,  and  the  commands  arranged- 
and  giv4n  as  in  the  work  previously  explained. 

As  it  is  now  the  moment  to  understand  complex  at- 
tacks, the  instructor  will  explain  each  attack;  and  then 
from  the  application  of  the  following  analysis  there  could 
be  a  derivation  of  all  the  attacks  of  more  than  one  move- 
ment. 

Hereafter  every  lesson  will  be  preceded  by  the  Public 
Salute,  therefore  the  instructor  had  best  present  it  now 
at  this  point. 

Engage  m  Fourth 

No.  I — One. 

No.  2 — Parry  sixth. 

No.  I — Execute  two  (deceiving  the  parry  of  No.  2)3 
and  lunge. 

No.  2 — Parry  fourth. 

Both  o:n  Guard* 
Command  No,  i.    (i)  One,  two;  (2)  Lunge;  (3)  Om 
guard. 

Engage  in  Fourth 

No.  I — Disengage. 

No.  2 — Parry  counter— fourths 


Spalding's  athletic  library  51 

No.   I — Execute  disengage   (deceiving  No.  2  counter- 
parry),  and  lunge. 
No.  2 — Parry  sixth. 

Both  on  Guard 
Command  No.  i.     (i)   Double;   (2)   Lunge;  (3)  On 
guard. 

Engage  in  Fourth 
No.  I — Cut-over.     (Do  not  extend  the  arm.) 
No.  2 — Parry  sixth. 

No.  I — Disengage  (deceiving  No.  2's  parry),  and 
lunge. 

No.  2 — Parry  fourth. 

Both  on  Guard 
Command    No.    i.      (i)    Cut-over,    disengage;    (2) 
Lunge;  (3)  On  guard. 

Observe  that  in  this  case  the  arm  is  not  extended  with 
the  cut-over,  this  being  the  only  exception  to  the  rule^ 
and  in  consequence  also  it  is  an  irregularity  in  the  exe- 
cution of  the  feint.  (See  definition  of  feint.) 

Riposte  and  counter-riposte  are  among  the  most  im- 
portant movements  in  fencing  when  handled  intelligently, 
and  will  be  explained  in  the  following  exercises : 

After  you  have  given  to  No.  i  any  command  for  attack, 
then  command  No.  2  riposte  by  direct  thrust,  disengage  or 
any  other  niovement  you  may  decide,  either  simple  or 
complex,  indicating  to  No.  i  the  parries  to  be  used  toy 
avoid  a  touch.    In  the  event  you  have  elected  to  explain 


52  SPALDING  S   ATHLETIC    LIBRARY 

the  counter  riposte  after  No.  i  has  parried  the  riposte, 
then  is  the  opportunity  to  explain  and  command  the 
counter  riposte. 

Engage  in  Fourth 

No.  I — One,  two  and  lunge. 

No.  2 — Parry  sixth  and  fourth. 

No.  2 — Riposte  by  direct  thrust  and  lunge. 

No.  I — Coming  on  guard,  parry  fourth. 

No.  I — Counter  riposte  by  one,  two  and  lunge. 

No.  2 — Come  on  guard  and  parry  sixth  and  fourth. 

Both  on  Guard 

In  giving  the  command  put  emphasis  on  riposte  or 
counter  riposte,  as  the  case  may  be. 

When  executing  riposte  or  counter  riposte  by  complex 
movements,  do  not  extend  the  arm  until  the  last  move- 
ment. 

When  presenting  attacks  advancing^  the  instructor 
will  emphasize  the  following  details :  In  simple  attacks, 
advance  at  the  same  time  you  extend  the  right  arm,  the 
lunge  being  executed  immediately;  in  complex  attacks, 
advance  during  the  first  movement,  and  lunge  during  the 
last  movement. 

Engage  in  Fourth 

No.  I — Disengage  (i)  (advancing). 

No.  2 — Parry  sixth  (retreating). 

No.  I — Disengage  (2). 

No.  2 — Parry  fourth. 

No.  I — Disengage  (3)  lunge. 

No.  2 — Parry  sixth. 


spalding  s  athletic  library  53 

'  Both  on  Guard 

Command — Advancing  No.  i.     (i)  One,  two,  three; 

(2)  Lunge;  (3)  On  guard. 

(Note  the  application  of  the  rule  already  given,  that 
when  one  side  advances,  the  other  retreats,  in  class  work.) 

An  exercise  will  give  the  instructor  a  clear  idea  of  the 
importance  of  calling  the  attention  in  the  high  line,  be- 
fore deciding  on  a  thrust  in  the  low  line. 

Exercise 
Engage  in  Fourth 
No.  I — Feint  direct  thrust,  high  line,  or  beat,  press  or 
any  other  attack  on  the  blade. 

No.  2 — Attend  the  feint  by  parry  fourth. 
No.  I — Low  thrust,  deceiving  adversary's  parry  and 
lunge. 

No.  2 — Parry  seventh. 

Both  on  Guard,  Coming  to  Fourth  Engage 
Command  No.  i.       (i)   Feint  direct  thrust  or  any 
other  attack  on  the  blade,  and  low  thrust;   (2)   Lunge; 

(3)  On  guard. 

The  following  exercises  will  give  a  clear  idea  how  to 
prevent  the  bind  and  the  liement. 

The  Bind 
Engage  in  Fourth 
No.  I — Feint  direct  thrust. 
(2)   Bind  and  lunge. 


54  SPALDING  S   ATHLETIC    LIBRARY 

(i)  Bring  arm  back  to  fourth  position  parry,  and 
without  losing  the  contact  with  the  adversary's  blade, 
direct  the  point  outside  of  your  body. 

Both  on  Guard 
Command  (i)  On  No.  I's  feint  direct  thrust;  No.  2 
bind;  (2)  Lunge;  (3)  On  guard. 

The  Liement 
Engage  in  Fourth 
No.  I — Feint  direct  thrust. 
No.  2 — Liement  and  lunge. 

No.  I — Bringing  arm  back  to  fourth  position  parry 
(point  a  little  higher  than  usual)  and  without  losing  the 
contact  of  your  adversary's  blade,  direct  the  point  outside 
of  your  body. 

Both  on  Guard 

Command  (l).  On  No.  I's  feint  direct  thrust;  No.  2, 
liement;  (2)  lunge;  (3)  on  gUi^ri 

The  Cross 
The  cross  is  most  practically  used  after  parries,  in  order 
to  be  in  possession  of  ihe  adversary's  blade  during  the 
riposte.     However,  as  has  been  previously  explained,  the 
cross  is  not  often  put  into  practice. 

Engage  in  Fourth 
No.  I — Glide,  low  thrust  and  lunge. 
No.  2 — Attend  the  glide  and  parry  seventh. 
No.  2 — Riposte  by  cross  and  lunge. 


Spalding's  athletic  library  55 

No.  I — Come  on  guard,  parrying  sixth  (without  los- 
ing contact  of  adversary's  blade). 

Both  on  Guard 
Command,    (i)  On  No.  I's  glide  and  low  thrust,  when 
lunging;  No    2  parry  seventh  and  riposte  by  cross;  (2) 
Lunge;  (3)  On  guard. 

Remise 
Remise,    redoubling    and    reprise    are    now    in    turn 
analyzed  in  the  following  exercises  : 

Engage  in  Fourth 

No.  I — Direct  thrust  and  lunge. 

No.  2 — Parry  fourth. 

No.  2 — Riposte  by  one,  two. 

No.  I — As  soon  as  No.  2  starts  his  complex  riposte, 
place  your  point  on  his  chest. 

Command  No.  i.  (i)  After  No.  2  has  parried  your 
direct  thrust,  in  attack,  and  starts  his  complex  riposte, 
replace  your  point  on  his  chest;  (2)  Lunge;  (3)  On 
guard. 

Redoubling 

Engage  in  Fourth 
No.  I — Direct  thrust  and  lunge. 
No.  2 — Parry  fourth  and  do  not  riposte. 
No.  I — Redouble  by  disengage  or  by  cut-over. 
No.  2 — Parry  sixth. 

Both  on  Guard 
Command  No.  i.    (i)  After  No.  2  has  parried  your 


56  Spalding's  athletic  library 

direct  thrust  in  attack  and  does  not  riposte,  redouble  by 
a  disengage;  (2)  Lunge;  (3)  On  guard. 

Reprise 
Engage  in  Fourth 
No.  I — Direct  thrust  and  lunge. 
No.  2 — Parry  fourth  and  do  not  riposte. 
No.  I — Come  on  guard  and  immediately  disengage  and 
lunge. 

No.  2 — Parry  sixth. 

Both  on  Guard 
Command  No.  i.     (i)    After  No.  2  has  parried  your 
direct  thrust  in  attack  and  does   not   riposte,   and  you 
have  come  on  guard,  make  a  second  attack  by  disengage ; 
(2)  Lunge;  (3)  On  guard. 

An  easy  application  of  Time-Thrust  and  Stop  Thrust 
can  be  made  by  giving  exercises  such  as  the  following: 

Engage  in  Fourth 

No.   I — One,  two  and  lunge. 

No.  2 — Time  thrust,  lovv^  line  in  eighth  parry  position, 
lowering  the  point  of  your  foil,  carrying  the  hand  from 
left  to  right  to  protect  the  body,  and  at  the  same  time 
extend  the  arm  with  half  lunge. 

Both  on  Guard 
Command   (i).     On  No.   I's  one,  two  in  attack,  and 
before  the  m,ovemcnt  is  finished ;  No.  2  time  thrust  in 
eighth;  (2)  Lunge;  (3)  On  guard. 


Spalding's  athletic  library  57 

If  the  attacking  of  No.  i  were  made  advancing,  and 
No.  2  execute  the  same  movements  as  explained  above, 
the  command  would  be  as  follows : 

(i)  On  No.  I's  one,  two  advancing  in  attack,  and 
before  the  movement  is  finished;  No.  2  stop-thrust  in 
eighth;  (2)  Lunge;  (3)  On  guard. 

Grand  Salute 

The  Grand  Salute,  prelude  of  the  assault,  consists  of 
several  attacks  and  parries  with  conventional  execution; 
and  it  is  for  three  important  reasons,  a  courteous  saluta- 
tion to  the  audience ;  to  demonstrate  the  classical  beauty 
of  the  movements,  and  to  prepare  the  arms  and  legs  for 
the  strain  of  the  bout. 

The  two  adversaries  face  one  another  at  a  distance  of 
about  twelve  feet.  The  instructor  will  command,  (i) 
Mask  down;  (2)  One;  (3)  Two. 

Under  the  command  (2)  the  fencers  charge  diagonally 
to  the  rear,  on  the  left  leg,  bending  left  knee  and  placmg 
mask  on  the  floor,  under  command  (3)  return  to  atten- 
tion position. 

When  resuming  the  mask  the  instructor  will  command : 

(i)  Take  mask;  (2)  One;  (3)  Two. 

Under  command  (2)  charge  as  before  and  grasp  the 
mask;  under  command  (3)  return  with  it  to  attention 
position. 

Command  for  Grand  Salute 

(i)   Class  mask  down;  (2)  One;  (3)  Two. 

(i)   Half-left;  (2)  Face. 

(i)   First  position ;  (2)  One. 


58  Spalding's  athletic  library 

No.  I — Take  measure  (this  is  to  extend  the  right  arm, 
palm  up,  horizontal  blade  and  lunge). 

No.  2 — Remaining  at  first  position,  advance  or  retreat 
until  your  adversary's  point  is  about  six  inches  from  your 
chest  (not  losing  the  left  guide). 

No.  I — (i)  First  position ;  (2)  One. 

Instructor  commands.  Class  Public  Salute  and  come 
on  guard,  engaging  in  fourth. 

No.  I — Disengage  and  lunge. 

No.  2— Parry  sixth  and  bring  hand  and  arm  in  posi- 
tion of  second  parry. 

No.  I — When  lunging,  after  the  adversary  has  struck 
your  blade,  swing  foil  across  your  face  to  the  left  side, 
arm  fully  extended,  so  th2t  the  adversary's  face  may  be 
seen  between  foil  and  arm. 

Both  on  Guard  Engaging  in  Sixth 

No.   I — Disengage  and  lunge. 

No.  2 — Parry  fourth  and  bring  arm  in  position  of 
parry  seventh. 

No.  1 — When  lunging  after  the  adversary  has  struck 
your  blade,  swing  foil  to  the  right  side,  arm  fully  ex- 
tended, blade  close  to  the  ear,  seeing  adversary's  face  in 
line  with  the  foil. 

Both  on  Guard  Engaging  in  Fourth 
No.  I — Repeat  one  more  disengage  from  fourth  and 
another  from  sixth,  as  has  been  explained 
Ncx,  2 — ^Parry  as  said 


Spalding's  athletic  library   ,  —  , ,  \  \ '  ''5^*  ' 

Both  on  Guard  Engaging  in  Fourth 
No.  I — One,  two  without  extending  the  arm,  bring 
arm  and  foil  in  position  of  third  parry. 
No.  2 — Parry  third. 

Both  Come  to  First  Position 

No.  2 — Take  measure. 

No.   I — Remain  in  first  position  as  before. 

No.  2 — Do  all  that  No.  i  did  before  and  No.  i  do  as 
No.  2  did. 

Both  adversaries — First  position. 

Both  adversaries — On  guard  backward  (left  foot  one 
step  back). 

Both  adversaries — One  call  (one  stamp  with  right 
foot). 

Both  adversaries — Two  calls  (two  stamps  with  right 
foot). 

Both  adversaries — First  position  forward  (left  foot 
forward). 

Both  adversaries — Public  salute. 

Both  adversaries — On  guard  forward. 

Both  adversaries — Two  calls  (two  stamps  with  right 
foot). 

Both  adversaries — First  position  forward  (left  foot 
forward). 

Both  adversaries — Final  salute. 

Both  adversaries — Front  face. 

Both  adversaries — Take  mask,  One,  two. 

Both  adversaries — One  step  backward,  March. 


i^/  o;     •  /[^Spalding's  athletic  library 

ADVICE  TO  INSTRUCTORS 


In  the  beginning-  execute  all  movements  slowly  that  the 
pupil  will  understand  each  thrust,  parry,  etc.,  and  increase- 
velocity  gradually,  in  order  that  the  pupil  may  acquire 
the  rapidity  so  necessary  to  every  good  fencer. 

Execute  each  movement  first  in  the  fourth  line,  then  in 
the  sixth  line. 

Always  attend  that  the  pupil  is  in  perfect  equilibrium 
when  on  guard ;  watching  carefully  that  the  line  of  the 
feet  is  not  crossed,  that  the  body  is  erect  on  both  hips,  the 
back  is  straight,  the  chest  raised  and  in  profile,  that  the 
position  of  the  arm  and  hand  is  perfect ;  beginners  always 
err  in  the  latter. 

Always  precede  the  movements  with  "engage  in,  etc ."' 
before  commanding  the  exercise. 

Complete  each  attacking  exercise  with  the  order 
*1unge,"  and  as  soon  as  the  movement  is  terminated,, 
return  to  guard  with  the  order  "on  guard." 

Finish  each  exercise  with  some  direct  thrust. 

Finish  each  lesson  with  two  calls  and  final  salute. 

Rest  after  each  bout ;  while  resting,  make  explanations 
to  the  pupils. 

Change  of  engagement  must  be  made  often,  in  order 
that  the  pupils'  fingers  become  nimble,  an  important 
qu-^lity  to  good  fencing. 

\lways  use  the  same  foil,  for  any  change  will  cause 


Spalding's  athletic  library  6i 

uncertainty  in  movements  owing  to  the  difference  in 
weight. 

Attend  well  that  the  pupil  does  not  incline  the  body 
forward  when  executing  an  attack,  for  this  fault  makes 
it  difficult  for  him  to  return  on  guard;  also  attend  that 
the  pupil  does  not  make  an  exaggerated  lunge;  both  of 
these  defects  cause  another  evil,  for  with  them  the  left 
foot  cannot  be  kept  flat  on  the  floor,  and  it  must  be. 

Attend  well  that  the  lunge  is  not  made  until  the  right 
arm  is  fully  extended. 

One  of  the  greatest  essentials  for  an  able  instructor 
is  patience.  Be  your  pupil's  friend  and  guide;  anybody 
can  learn  to  fence;  the  results  depend  on  the  ability  of 
the  instructor. 


62  Spalding's  athletic  library 


EPILOGUE 


I  would  be  happy  to  know  that  through  these  few 
pages  I  have  been  able  to  create  a  love  for  fencing  among 
those  who  have  followed  the  guide  of  "class  work." 

The  love  of  an  art  promotes  the  intelligent  compre- 
hension of  its  possibilities,  and  the  necessity  for  deeper 
research.  The  class  work  gives  the  understanding,  but 
for  the  polish  of  the  fencer  there  must  be  hard  indi- 
vidual work  against  the  master's  plastron.  If  the  class 
work  has  been  a  pleasure,  the  deeper  research  will  be 
void  of  weariness.  Continue,  and  you  can  be  among  the 
first. 

Work  with  a  good  master ;  avoid  faults  that  can  creep 
in  so  easily  and  grow  so  rapidly ;  never  imagine  yourself 
a  graduate  with  a  diploma,  for  there  is  always  something 
more  to  learn ;  do  not  be  anxious  for  early  assault ;  many 
good  pupils  have  lost  all  they  learned  by  begiuvning  the 
assaults  before  they  are  ready  for  them.  One  evil 
acquired  by  assaulting  prematurely  is  the  acquisition  of 
the  habit  to  avoid  being  touched  by  various  contortions 
of  the  body,  and  this  incorrect  manner  will  remain  with 
one  as  a  perpetual  obstacle  to  improvement  in  the  art. 

Make  your  first  assaults  with  the  master,  for  he  can 
correct  your  faults ;  and  also,  you  will  not  be  over- 
anxious to  touch,  sacrificing  form  and  the  rules  in 
the  art. 


Spalding's  athletic  library  63 


THE  ART  OF  FENCING 

By  Thomas  A.  Buys,  M.D., 
President  Brooklyn  Fencing  Club. 

That  fencing  is  an  art,  and  one  that  requires  a  thor- 
ough apprenticeship,  all  swordsmen  know,  but  as  this 
article  may  come  before  the  eyes  of  the  uninitiated  it 
might  be  well  to  go  a  little  into  details,  so  that  it  will 
never  occur  to  them,  as  it  did  once  to  a  prominent  officer 
of  the  National  Guard,  who,  on  witnessing  a  bout  with 
foils,  remarked:  "What  art. is  there  in  two  fellows  jab- 
bing at  each  other  with  foils  ?"  To  start  with,  fencing  is 
not  a  recent  discovery,  but,  on  the  contrary,  is  centuries 
old.  In  the  fifteenth,  sixteeth  and  seventeenth  centuries 
it  was  probably  at  the  height  of  its  perfection,  for  then  a 
lack  of  knowledge  of  this  interesting  art  might  have 
meant  sudden  death.  The  Spanish  originated  the  best 
school  of  sword-play,  but  it  has  come  to  us  through  vari- 
ous sources,  the  two  recognized  ones  being  the  Italian  and 
French  methods.  The  Italian  is  rough  and  forceful,  re- 
quiring considerable  strength,  while  the  French  endeavors 
to  train  the  hand  to  the  greatest  delicacy,  so  that  the 
faintest  impressions  are  carried  to  the  brain,  as  if  the 
sword,  the  arm  and  the  body  were  charged  by  a  highly 
sensitive  electric  current,  making  the  muscles  and  nerves 
respond  instantly  and  with  beautiful  co-ordination. 

But  you  will  say :  "The  days  for  duelling  are  past,  of 
what  use  is  the  sword  ?"  True,  the  days  of  chivalry  are 
past ;  the  sword  no  longer  upholds  the  honor  of  family  or 


h4  SPALDING  S    ATHLETIC    LIBRARY 

name,  its  place  being  superseded  by  the  police  court  and 
our  legal  adviser ;  but  for  all  of  that,  in  these  days  of 
•enuQUs  games,  we  almost  seek  in  vain  for  one  which 
will  in  itself  combine  exercise  both  mental  and  physical, 
and  while  being  generally  beneficial,  does  not  dilate  the 
heart,  distend  the  lungs,  nor  break  bones  and  tear  liga- 
ments, as  so  many  of  our  so-called  amusements  do.     On 
the  contrary,  fencing  brings  into  play  every  part,  every 
'  1  -:an  and  every  sense  in  the  body,  with  perhaps  the  ex- 
)tion  of  the  sense  of  taste  and  the  sense  of  smell.    Yet 
an  exercise  it  cannot  be  called  violent,  and  now  that 
o'      masks  are  so  improved  in  construction,  cases  of  in- 
jury are  very  rare. 

i^he  object  of  the  game  is  to  score  a  touch  upon  op- 
p  "t^ent  (which  means  reaching  any  part  of  the  body 
above  the  waist  line  and  below  the  collar  line,  arms  ex- 
cepted, with  the  button  of  };our  foil),  at  the  same  time 
protecting  yourself.  To  do  this  requires  a  great  deal  of 
judgment,  as  a  man  on  guard  is  protected  in  the  direct 
line  of  attack  and  you  must  deceive  him  absolutely  to 
pe  uccessful,  leading  him  to  suppose  that  you  will  attack 
hiiii  in  one  line  when  in  reality  you  intend  to  strike 
through  another.  This  in  itself  requires  coolness,  self 
composure  and  at  the  same  time,  decision,  accuracy,  firm- 
ness of  hand,  keenness  of  eye,  speed  and  agility,  in  thrust,, 
lunge  and  recovery.  To  perform  these  properly,  the  knees 
must  be  bent,  with  the  body  poised,  its  weight  resting 
equally  on  each  foot,  so  that  an  advance  or  a  retreat  may 
br  nade  with  equal  facility.  The  left  leg,  without  rig- 
\f,  should  be  like  a  coiled  spring,  ready  on  the  instant 


spalding'^s  athletic  library  65 

to  extend  to  its  fullest  extent  in  the  lunge.  Thais  all  parts 
.•are  kept  on  a  constant  qui  vive,  and  as  the  play  is  -so- ex- 
tremely rapid,  and  requires  the  utmost  concentration  of 
the  mind  to  avoid  unpleasant  surprises,  this  in  itself 
banishes  dull  care  and  acts  as  b.  rare  tonic  to  the  nervous 
isystem. 

To  qualify  tlie  statement  as  to  tlie  benefits  of  fencing 
as  a  physical  exercise.  Some  say  it  is  too  onesided,  but 
the  truth  is  that  the  left  arm  is  generally  the  one  to 
l)ecome  fatigued  first,  ^as  the  dropping  of  the  arm  on  the 
lunge  and  sudden  raising  of  the  same  on  the  recovery- 
bring  into  play  all  the  muscles  of  the  shoulder  and  many 
•of  the  neck  and  back,  this  tending  to  expand  the  chest  by 
raising  the  ribs  and  throwing  the  shoulders  back.  In  the 
lunge  the  entire  weight  of  the  body  is  thrown  violently 
forward  on  the  right  le^;,  bringing  into  play  all  the  mus- 
cles of  the  back  and  particularly  those  of  the  abdomen, 
causing  them  to  contract  in  such  a  manner  as  to  act  like 
anassage  upon  the  bowels,  regulating  them  and  at  the 
same  time  reducing  any  tendency  to  corpulency  in  those 
whose  muscles  are  relaxed  and  flabby.  There  is  a  saying 
that  'Tt  is  a  poor  rule  that  won't  work  both  ways,"  This 
is  particularly  true  of  this  form  of  exercise,  for  many 
take  it  to  reduce  their  weight.  This  it  does  by  increased 
ingestion  of  oxygen,  which  burns  up  the  fat,  and  by  rapid 
muscular  contractions,  which  rub  the  fat  out  from  be- 
tween the  muscular  fibers.  On  the  other  hand  with  those 
people  wlio  have  no  fat  and  are  small  muscled,  the  in- 
crease in  the  circulation  of  their  blood  carries  more  nour- 


66  Spalding's  athletic  library 

ishment  to  the  muscle,  making  the  individual  increase 
both  in  weight  and  size. 

Fencing,  through  its  high  nervous  tension,  produces 
deep  and  rapid  respiration,  increases  the  action  of  the 
heart  without  strain,  and  causes  invariably  a  profuse 
perspiration,  cleansing  the  pores  of  the  skin  of  all  poison- 
ous matter  and  acting  through  muscular  contraction  and 
increased  circulation  on  liver  and  kidneys.  Thus  we  see 
that  apart  from  the  pleasures  of  the  art  as  a  game,  we 
have  all  the  necessities  of  an  all-round  exercise,  which, 
without  being  violent,  reaches  all  the  muscles,  the  ex- 
cretory and  circulatory  organs,  cleanses  and  rejuvenates 
the  entire  body,  and  gives  a  person  who  was  nervous  and 
iidgity  a  firmness  and  control  over  his  nerves,  a  keen- 
ness of  eye  and  a  quick,  graceful,  erect  carriage,  which 
makes  walking  a  pleasure  and  induces  a  natural  tendency 
to  think  and  act  quickly,  frequently  saving  us  from  ac- 
cident. 

It  must  not  be  assumed  that  a  person  who  buys  a  pair 
of  foils  and  crosses  them  upon  the  wall  of  his  room, 
will  attain  any  of  the  benefits  mentioned,  nor  will  they 
who  take  one  lesson  a  week  and  forget  where  they  left  the 
foil  until  the  next  lesson;  but  those  who,  when  properly 
instructed,  practice  daily,  making  at  least  one  hundred 
correct  lunges  against  some  solid  object,  will  soon  per- 
ceive the  truth  of  my  statement. 

Fencing,  it  is  believed,  has  come  to  stay.  Under  the 
supervision  of  the  Amateur  Fencers'  League  of  America,, 
whose  rules  and  regulations  guide  and  govern  the  ama- 
teur fencing  world,  restricting  all  roughness  and  promot- 


Spalding's  athletic  library  6j 

ing  good  fellowship  and  courtesy  in  conduct  and  bout 
work,  making  competitions  pleasant  and  insisting  upon 
good  form  and  gentlemanliness,  as  absolutely  essential 
to  a  good  swordsman,  thus  the  art  will  become  more 
and  more  popular,  until  it  takes  its  place,  where  it  be- 
longs, at  the  head  of  the  list,  the  king  of  all  sports. 


68  Spalding's  athletic  library 


PROF.  RICARDO  E.  MANRIQUE 

from  the  Cercle  d'Esgrime  de  I'Havanc,  1888 ;  official  in- 
structor at  the  Gymnastic  Club,  1889-1896;  The  Military 
Club,  1890-96;  The  Progress  Club,  1893-1896,  at 
Havana;  Fencing  Editor  of  El  Figaro,  Los  Sports,  and 
La  Discusion,  1890-1896,  Havana;  Instructor  at  the 
the  Colon-Cervantes  Club,  1896-1899;  The  New  York 
Normal  School  of  Physical  Education,  1899;  The  Dr. 
Savage  Physical  Development  Institute,  1899 '  Columbia 
Institute,  1900;  Nathan  Hale  School,  1902;  The  Berke- 
ley School,  1902 ;  New  York  Normal  College,  1902 ;  Pro- 
fessional Woman's  League,  1902;  The  Blythe  Dramatic 
School,  1902-1905 ;  at  Brooklyn  Fencers'  Club,  1903 ; 
College  of  New  Rochelle,  N.  Y.,  1907;  Blessed  Sacrament 
Convent,  New  York  City,  1907 ;  Saint  Angela's  School 
for  girls,  1909;  South  Orange  Field  Club,  1903;  Lake- 
wood  Physical  Culture  Club,  1903 ;  Orange  County  Club, 
N.  J.,  1903  ;  Stanhope  Wheatcroft  Dramatic  School,  1905  ; 
Barnard  College  Fencing  Club,  1904;  Miss  De  Lancy 
School  for  Ladies,  1904,  New  York;  Central  Branch 
Young  Men's  Christian  Association,  Brooklyn,  1905 ;  The 
Veltin  School  for  Girls,  1906 ;  Mme.  A.  E.  Zeigler  School 
of  Art,  1906;  Columbia  Grammar  School,  1907,  New 
York.  Member  of  the  American  Physical  Education  As- 
sociation. Author  of  'The  Art  of  Fencing  with  the  Foil," 
according  to  the  French  School ;  awarded  the  only  medal 
given  for  work  on  Fencing  at  the  Pan-American  Expo- 
sition, Buffalo,  1901 ;  Instructor  Colonel's  Staff  71st 
Regiment,  N.  G.  N.  Y. ;  Crescent  Athletic  Club,  Brook- 
lyn, and  others. 


;"  Spalding's  athletic  library  (19 

Fencing  Rules 

ADOPTED  AT  A  GENERAL  MEETING,  OCTOBER,  IQII. 

1.  Foil  competitions  shall  be  conducted  by  three  judges,  whose 
decisions  shall  be  final  and  without  appeal.  One  of  them  shall 
act  as  Director.    There  shall  also  be  a  timer  and  a  scorer. 

2.  The  judges  shall  announce  when  a  competitor  is  touched, 
whether  fair  or  foul,  by  direct  attack,  riposte  or  remise.  Should 
they  disagree,  the  Director  shall  decide.  A  judge  shall  especially 
watch  one  fencer,  but  he  shall  announce  touches  made  on  either. 

Should  a  judge  call  a  touch,  it  shall  count  a  point,  unless 
either  of  the  other  judges  shall  announce  to  the  contrary,  in  which 
case  the  majority  vote  shall  decide. 

3.  The  Director  shall  superintend  the  bout,  put  the  competitors 
on  guard,  and  give  all  necessary  directions.  He  shall  announce 
to  the  scorer  each  touch  as  awarded. 

4.  Each  bout  shall  consist  of  the  majority  of  seven  touches, 
with  a  time  limit  of  four  minutes.  The  contestants  shall  change 
position  after  three  touches,  or  after  two  minutes  in  case  three 
touches  have  not  been  made  in  that  time.  In  case  of  a  tie  after 
four  minutes,  they  shall  fence  for  one  additional  touch. 

5.  A  contestant  must  announce,  when  he  is  touched,  whether 
fair  or  foul.  Failure  to  do  so  must  be  called  to  his  attention  by 
the  judges.  Persistent  failure  will  subject  the  offender,  on  the 
concurrence  of  the  majority  of  the  judges,  to  a  penalty  of  one 
point,  which  shall  be  added  to  his  opponent's  score. 

6.  The  Director  must  stop  a  corps-a-corps. 

7.  Tlach  judge  shall  give  one  point  for  form  to  the  fencer 
he  thinks  superior  in  that  respect. 

8.  Each  contestant  shall  fence  with  the  same  hand  throughout 
the  bout. 

9.  Competitors  shall  wear  clean,  white  fencing  jackets  and 
long  white  trousers  of  soft  material,  unglazed. 

10.  Contestants  shall  fence  within  a  marked  space  twenty  feet 
long  and  thirty-six"  inches  wide,  with  a  mark  plainly  indicating 
the  middle. 


yO  SPALDING  S   ATPILETIC   LUJRARY 

11.  Foil  blades  shall  not  exceed  thirty-four  inches  in  length. 
Guard  of  foil  shall  not  exceed  four  inches  in  diameter. 

12.  Blacktarred  tape  shall  not  be  used  for  buttons. 

IS.  A  touch  shall  count  if  delivered  upon  any  part  of  the 
body  above  the  waist  line  and  below  the  collar  line,  provided 
it  be  made,  by  a  direct  thrust  in  such  a  manner  that  if  the  foil 
had  a  sharp  point  it  would  cause  a  punctured  wound.  A  touch 
shall  count  if  it  reaches  the  body  after  merely  grazing  the  arm. 
A  touch  is  of  no  value  when  the  point  is  slapped  on  or 
twisted  on  after  the  slap  of  the  foil. 

14.  Should  a  fencer  unduly  cover  his  body  with  arm  or  head, 
and  receive  a  touch  on  either,  which  otherwise  would  have  been 
on  the  body,  it  shall  be  counted  as  good. 

A  contestant  who  advances  after  a  lunge  in  such  a  manner 
as  to  make  it  impossible  for  his  adversary  to  riposte  shall  be 
penalized  one  point. 

15.  A  touch  whether  fair  or  foul  invalidates  the  riposte. 

16.  A  disarmament  is  of  no  value.  A  touch  immediately  fol- 
lowing disarmament  counts. 

'  17.  A  touch  made  with  a  bent  arm  on  the  original  attack 
shall  not  count. 

18.  A  contestant  who  steps  off  the  fencing  strip  shall  be 
penalized  one  point. 

19.  The  beginning  of  the  assault  is  marked  by  the  contact  of 
the  blades,  which  is  called  the  engagement. 

After  the  engagement  either  feincer  has  a  right  to  attack, 
before  an  attack  is  made. 

After  the  engagement  either  fencer  has  a  right  to  attack. 
The  full  extension  of  the  arm  in  the  direction  of  the  opponent's 
body  is  a  necessary  preliminary  of  an  attack. 

20.  If  both  fencers  commence  an  attack  at  the  same  moment, 
and  both  are  touched,  whether  on  the  target  or  not,  neither  touch 
counts.  But  if  only  one  is  touched  on  the  target  and  the  other  is 
untouched,  the  touch  is  valid. 

21.  A  fencer  who  during  a  bout  disputes  the  decision  of  the 
judges,  shall,  on  concurrence  of  the  majority  of  the  judges,  be 
penalized  one  point,  which  shall  be  added  to  his  adversary's  score. 


SSTHE  SPALDING  (iD)TRADEMARK  ''Zinf 


SPALDING  FENCING  GOODS 


No.    11. 
mesh. 

No.  12. 


Spalding  Fencing  Masks 

Full    protection,    heavy    construction,    close 
Black  Japanned,  special  wire,  nicely  padded. 

Pair,  $25.00 
Face,  forehead  and  ear  protection.       Heavy 
construction,   close    mesh.      Black   Japanned,   nicely 

padded. Pair.  $20.00 

No.  3.     Light  construction.      For  foils.      Face,  forehead 
and  ears  covered.     Black  Japanned,  nicely  padded. 

Pair,  $12.50 
Spalding 
Fencing  Plastrons 

Supplied  on  Special  Order  only. 

Good   quality  leather;    heavily 

padded  and  quilted. 

No.   2.      Chest  and    right 

side.  ,  .  Each,  $5.00 
No.  3.   Chest  and  right  and 

left  side.  .  Each,  $5.50 
No.  3L.    Women's.    Same 

as  No.  3,  but  shaped  at 

waist.  .     .     Each,  $5.50 


Spalding 
Foil  Gloves 

Made  in  Rights  or  Lefts. 
No.  1.     Short  soft  leather  cuff,  nicely  padded. 

Each,  $4.50 
No.  2.    Gauntlet  of  soft  leather,  nicely  padded. 

Each,  $5.00 

No.  3.     Patent    leather,   stiff   elbow   gauntlet, 

padded Each,  $6.00 

Spalding  Broadsword  Gloves 

No.  5.     Full  padded,  stiff  elbow  gauntlet. 

Each.  $8.00 
No.  7.     Same  an  above,  but  shorter  cu£F. 

Each,  $7.00 


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iCES    SUBJECT    TO    CHANGE    WITHOUT    NOTICE.     For  Canadian  price.  «e  .pecial  Canad.JMi  Catalogue 


bKe THE  SPALDING! 


ITRADEMARK^S,  f 


SPALDING  FENCING  FOILS 
Figure  8  Gusurd  Fencing  Foils 


No.  7. 
No.  11. 
No.  18. 
No.  17. 


No.  17 

Iron  mountings,  corded  handle Pair,  $2.50 

Blued  mountings  and  34-inch  blade **        4.00 

Mountings  of  brass,  and  34-inch  blade "        4.50 

Special  "Club"  Foil,  nickel-plated  and  polished,  and  34-inch  blade. 

Pair.     6.00 

Bell  Guard  Fencing  Foils 


No.  23 

No.  15.     Mountings  nickel-plated,  and  34-inch  blade Pair,  $4.00 

No.  23.     Mountings  nickel-plated  and  highly  polished,  and  fine  34-inch  engraved 
blade Pair.  $7.00 

Fencing  Swords 

No.  30.     Broadswords,  wood Pair.  $5.00 

Fencing  Sticks 


Fencing  Stick 

No.  40.     Sticks,  complete Pair,  $2.00 

No.  41.     Willow  basket  handles "        1.00 

No.  42.     Hickory  sticks  only "        1.00 


# 


Foil  Blades 

No.  B.     Fine  Coulaux  or  Brunon  Steel  Blades,  34-inch. 
No.  C.     Rubber  Foil  Buttons 


Each.  $1.10 
Pair,       .10 


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STORES  IN  ALL  LARGE  CITIES 


I  FOR  COMPLETE  LIST  OF  STORES 

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OF  THIS  8001 


PRICES  SUBJECT  TO  CHANGE  WITHOUT  NOTICE.    For 


KJHESPALDINGI 


ITRADE-MARK  °K',?^ 


j^^  J  J.  Spalding  Gymnasium  Shoes 

Correct  Shoes  ^°*  ^^:  High  cut,  kangaroo  uppers; 
for  Boxing  genuine  elkskin  soles;  will  not  slip  on 

floor;  extra  light;  the  correct  sho^g 
to  wear  for  boxing,   .    .      Pair, 

No.  155.  High  cut,  black  leather,  elX- 
skin  soles,  soft  and  flexible.  Pair,     " 

No.  166.  Low  cut,  black  leataer, 
electric  soles.    .     .     i     .     Pair, 

No.  66L.  Women's  low  cut,  extra  light 
selected  black  leather  uppers,  with 
electric  soles Pair, 

No.  21.  High  cut,  black  leather;  elec- 
tric soles;  sewed  and  turned;  ex- 
tremely light  and  flexible.  Pair, 

No.  20.  Low  cut,  otherwise  as  No.  ^i; 
sewed  and  turned.     .     ,    Pair,     ""* 

No.  20L.  Same  as  No.  20i  but  A 
women's  sizes.      .    .    .     Pair, 

Spalding  Knockabout 
Leather  Gymnasium  Shoes 

Flexible  Soles 
No.   GWH.     High    cut,    special   pearl 
colored   leather;    flexible  soks:  well 

made Pair, 

No.  GW.    Low  cut,  otherwise  as  GWH, 
Pair, 

Spalding 
Special  Bowling  Shoes 

"No.    148.     For   bowling  and    general 
gymnasium    use;  light    drab  chrome 
tanned  leather  uppers,  with  electric 
solesi:  laces  extremely  low  down. 
Pair.^' 


Spalding  Gymnasium  and  Acrobatic  Shoes 

No.  FN.     Corrugated  rubber  sole,  special  leather  uppers.     For   acrobatic  and  wrestling  wear.     .....     Pair, 

No.  FL.      Extra  high  cut  canvas  acrobatic  shoes.    (Pat.  Aug.  17,  1915).    Special  leather  soles,  will  not  harden  in  wat«. 

Shoes  ere  reinforced  where  upper  and  sole  are   attached Pair, 

No.  FM,     Three  inches  lower  than  No.  FL.     White  canvas  shoes,  black  trimmed ;  special  leather  soles.  .    .        " 
^lo.  E.        Low  ^ut  canvas,  canvas  soles ,  .  ^    ^    s       *   ,  la-t^  " 

Spalding  Fencing  Shoes 

"No.  L.     Drab  glove  leather,  red  trimmings.      Not  carried  in  stock;  supplied  on 
special  order   only.      Specify    on  order  if  to  be  made  with  or  without   toe 

,.    extension  sole,  and  on  which  shoe. .,  Pair, 

Ko,  LW,    Women's,    Otherwise  same  as  No.  L,   .«,»..  ^  a  »  »       ^* 


Spalding  Clog  Shoes 

No*  li-O.    Goatskin  uppers;  wood  soles.    Special  order  only. 


.   .  Pair. 


HOW  TO  MEASURE  FOR  ATHLETIC  SHOES 

Running  Shoes.  Jumping  Shoes,  HurdHng  Shoes,  and  Pole  Vaulting  Shoes  are  usually  worn  without  stock, 
ings ;  take  measurements  over  bare  feet.  AH  other  athletic  shoes  are  worn  with  stockings ;  toke  ipeasure. 
ments  over  stockings.  Take  measurements  as  directed  below  and  send  with  your  order.  Don  t  Rush  I 
Be  Careful  I 

In  sitting  position  draw  outlines  of  feet,  both  the  right  end  left,  measuring  over  stockings  or  bare  feet  as 
required,  according  to  style  of  shoe ;  then,  with  tape  measure,  drawing  same  tight,  measure  ball,  waist, 
instep,  heel  and  ankle,  as  shown  in  cut. 

—Hold  pencil  perpendicularly  all  around  the  foot,  especially  at  back  of  heel  and  •• 
end  of  great  toe. 


IMPORTANT- 


I  PROMPT  ATTENTION  GIVEN  TO  I 
III    ANY  COMMUNICATIONS 
i|l        ADDBESSEOTOOS  ' 


A.  G.  SPALDINCr &  BRWS^ 

STORES  IN  ALL  LARGE  CITIES 


FOR  COMPLEII  LIST  OF  STORES 

SEE  INSIDE  FRONT  COVEK 

OF  THIS  BOOK 


Prices   subject    to    change    without   notice.     Fo*  C«nadi«n  pnc*.  see  .pedal  Canadian  CaUloau- 


St  JHESPALDINGI 


ITRADE-MARK  TZ'\ 


SPALDING 
Gymnasium  and 
Athletic  Equipment 


Made  of  Best  Materials 
Durable 
Comfortable 
Correct  in  Design 
Carefully  Made 


A  THLETIC  UNIFORMS  differ  in  construction  from  ordinary 
**■  clothes  in  that  they  must  be  especially  strengthened  in  the 
parts  bearing  the  strain.  Only  long  years  of  practical  experience 
in  making  athletic  uniforms  can  determine  the  weak  spots. 

Spalding  has  had  this  experience  and  puts  it  into  practice  in 
their  own  factory,  where  these  goods  aie  made. 

Thos  who  wear  them  have  told  us  they  are  durable  and 
comfortable. 

CPALDING  GYMNASTIC  UNIFORMS  have  been  used  for 
*^  years  by  colleges,  schools,  Y.  M.  C.  A/s,  clubs,  etc. 

Wh}/?  Because  the  leaders  of  such  organizations  and  insti- 
tutions have  discovered  they  meet  the  approval  of  those  using 
them,  tnus  eliminating  friction  between  the  director  and  his 
pupils  or  members. 

Why?     Because  the  wearer  is  perfectly  satisfied* 


WRITE  FOR 

Spalding  Catalogue 

CONTAINS     A     FULL     LINE     OW 

Shirts,   Tights,   Trunks,  Shoes,   etc 
Suitable  for  Gymnasium  and  Athletic  Use 

FREE  ON  REQUEST 


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121-^^ 


tk-^fS^'  ^ 


I 


N  TRACK  AND 
FIELD  SPORTS 


Spalding  Implements  are  pre-eminent. 
From  the  running  shoes  for  Olympic 
Y^Inners  to  the  missiles  of  weight 
throwers/ Spalding  goods  are  always 
In  evidence  when  championships  are 
w^on  or  records  made. 

Ruling  bodies  In  track  and  field 
athletics  certify  to  Spalding  Quality 
In  the  recognition  of  Spalding  im- 
plements for  use  In  Olympic  and 
championship  contests. 

Don't  be  led  astray  by  the^  false 
cry  of  cheapness  and  "just  as  good." 
Remember  that  superiority  in  com- 
petition Is  the  result  of  Quality  In 
equipment.  • 

NEW  YORK    and  all  *  LONDON 

CHICAGO  large  cities  in  the  PARIS 

SAN  FRANCISCO      United  States     SYDNEY 


RETURN  CIRCULATION  DEPARTMENT 
TO—^-  202  Main  Library  642-3403 


LOAN  PERIOD  1 

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LIBRARY  USE 

This  book  is  due  before  closing  time  on  the  lost  dote  stamped  below 

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ees.  Cf3 


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UNIVERSITY  OF  CALIFORNIA,  BERKELEY       ,| 
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THE  UNIVERSITY  OF  CAUFORNIA  UBRARY 


